Best 25 quotes of Amy Ryan on MyQuotes

I come from a working-class background in Queens, New York.

I'd love to do a costume drama movie. For no other reason, except that it sounds fun to me.

I enjoyed learning something and, uh, so I think like with anything in life, in the schoolroom in an artistic endeavor, if you have just a really good teacher, it's inspiring. I certainly use, in my work, I mean, I used to rely heavily on imagery. I was obsessed with this photograph that was in the NY Times of a fish engulfing a smaller fish and this smaller fish had this look in its eyes; it knew what was about to happen and, I don't know how they ever captured such an image, but I've used that for a play I (did). It's called "Saved.

I find that all great directors, and I would include Ben Affleck and Clint Eastwood in that, they have great confidence. And with great confidence comes great freedom for the actor.

If your body is excited to do something, that's what you should be doing. Or if it really scares you, you should be doing it.

I love Morocco - it's a real challenge to all five senses. You think you know something, and you don't. It's wonderful. It keeps you on your toes that way.

I'm so fortunate in that I've never had another job to pay a bill but acting, since the day I got out of high school.

I really don't have a problem showing the ugly side of people. If that means my wearing no makeup, that's fine. To me, that's beautiful.

It happens a lot, but I also think of it as not so much like being abandoned by a director 'cause they're worried about a technical aspect, but I think actually that's my job.

It's deeply personal to watch actors go to those dark places. It can be scary, so you channel them all your love and energy, and you know you'll be safe on the other side.

It's funny to see the finished product of a movie, stuff that's so beautiful, and to remember the particulars.

It's fun to play happy people.

I was actually fortunate that I never had to have any other job than being an actor. I don't have those odd stories of having to make some money here or there, but certainly there are some credits on my résumé I wish I hadn't done. It paid my health insurance, and I say that just from a creative standpoint, shows I'm not that proud of, things like that.

Some jobs you do - maybe you don't - are jobs that pay mortgages and some are art and I don't care about not being paid on those.

The greatest inspiration I draw upon is, is this city (New York) and riding the subway and watching people and I find that's kind of like the best, the best acting teacher. You know, I wonder, like people who have huge celebrity, sometimes I feel bad, should this be one of their methods 'cause I don't know how they can observe life anymore, because they become the observed. So, I, I appreciate that New York can still do that.

There are certain things you learn to do as a parent - using every single part of your body because you're multitasking all the time. You're holding the baby and you're closing the door with your left foot.

There are so many choices I made simply for health insurance. Is it the ideal role I wanted to play, or the TV show I wanted to be a part of? No, but it let me afford to go to the doctor.

The Tonys are also kind of like a homegrown party. You know everybody.

The Wire,' I was such a fan of that show the first season - I think that's the best-written show on TV.

Usually in stories there are big problems in the beginning or couples are pulling away, there's a lot of bitterness.

When I was growing up I actually was into Bon Jovi!

When you're on a movie and the production department says, "We need old photographs of you - your character - when you were 20-years-old." I usually tell them it's in storage or I had a fire. I go back to these old photos and there's never a good photo or they're of times that I'm so glad I'm out of. They have nothing to do with the character that you're playing, so it feels false. That's one of the hardest things for me in terms of looking back.

You know, I don't think, you know, therapy never ends, really.

You know, there are a lot of directors, like Clint Eastwood (on Changeling) is one where he casts you and you know in many ways that's enough for him and so, you go, ok, well, he saw something. Ok, what is it that he saw? What is it that I brought to this and why am I right for this and not trying to double-guess it and get in your own way and get psyched out, 'cause he trusts so much.

You try to follow suit and the directors I work with, like Sidney Lumet (on film in Before The Devil Knows You're Dead and TV in 100 Centre Street) who thinks actors hung the moon, thinks they can do anything, but he also works really quickly, the same like Clint Eastwood, and so you better also do your homework, you know?